Friday, May 27, 2011
Othello Vocab Site
http://www.vocabulary.com/lists/12853
- advection
(meteorology) the horizontal transfer of heat or other atmospheric properties - affinity (immunology) the attraction between an antigen and an antibody
- agile moving quickly and lightly
- alacrity liveliness and eagerness
- amiable disposed to please
- baseness unworthiness by virtue of lacking higher values
- beguile influence by slyness
- bestial resembling a beast; showing lack of human sensibility
- bestow present
- boisterous noisy and lacking in restraint or discipline
- bombast pompous or pretentious talk or writing
- candid characterized by directness in manner or speech; without subtlety or evasion
- carnal marked by the appetites and passions of the body
- castigation a severe scolding
- circumspection knowing how to avoid embarrassment or distress
- consecrate appoint to a clerical posts
- cynically with cynicism; in a cynical manner
- defunct no longer in force or use; inactive
- desolate providing no shelter or sustenance
- dilatory wasting time
- discern detect with the senses
- discord lack of agreement or harmony
- discretion freedom to act or judge on one's own
- edified instructed and encouraged in moral, intellectual, and spiritual improvement
- enmesh entangle or catch in (or as if in) a mesh
- entreat ask for or request earnestly
- epithet a defamatory or abusive word or phrase
- facile arrived at without due care or effort; lacking depth
- forbear refrain from doing
- fulsome unpleasantly and excessively suave or ingratiating in manner or speech
- garner acquire or deserve by one's efforts or actions
- grave death of a person
- guileless free of deceit
- hideous grossly offensive to decency or morality; causing horror
- homage respectful deference
- impervious not admitting of passage or capable of being affected
- insolent marked by casual disrespect
- laconic brief and to the point; effectively cut short
- lechery
- lethargy a state of comatose torpor (as found in sleeping sickness)
- malice feeling a need to see others suffer
- malicious having the nature of or resulting from malice
- malignant dangerous to health; characterized by progressive and uncontrolled growth (especially of a tumor)
- mitigate lessen or to try to lessen the seriousness or extent of
- mutiny open rebellion against constituted authority (especially by seamen or soldiers against their officers)
- obscure not clearly understood or expressed
- odious unequivocally detestable
- palpable capable of being perceived; especially capable of being handled or touched or felt
- paradox (logic) a statement that contradicts itself
- paragon an ideal instance; a perfect embodiment of a concept
- peevish easily irritated or annoyed
- penitent feeling or expressing remorse for misdeeds
- perdition (Christianity) the abode of Satan and the forces of evil; where sinners suffer eternal punishment
- pernicious exceedingly harmful
- profane characterized by profanity or cursing
- propriety correct or appropriate behavior
- ruffian a cruel and brutal fellow
- ruminate chew the cuds
- sated
- sordidness sordid dirtiness
- subjugate put down by force or intimidation
- surfeited
- traduce speak unfavorably about
- usurped
- vehement marked by extreme intensity of emotions or convictions; inclined to react violently; fervid
- verve an energetic style
- virtuosity technical skill or fluency or style exhibited by a virtuoso
- wanton occurring without motivation or provocation
- warrant
Othello links
http://www.youtube.com/watch?v=44GKZrErSFQ
James Eral Jones reads Speech to Venetian Senate re: bewitching
http://www.youtube.com/watch?v=-DF7YQrC7HM&feature=related
what handkerchief: http://www.youtube.com/watch?v=LPisnnPfVik&feature=related
Roderigo's death http://www.youtube.com/watch?v=bnfxPyLzZMY&feature=related
Act 4 http://www.youtube.com/watch?v=wHVnLyP9ZVE&NR=1
Strangle her http://www.youtube.com/watch?v=Rhx7LCBHwLc&feature=related
Emilia at Desdemona's side http://www.youtube.com/watch?v=mLY5ESkKaRI
end: http://www.youtube.com/watch?v=FA5ZXr4Gyk0&feature=related
James Eral Jones reads Speech to Venetian Senate re: bewitching
http://www.youtube.com/watch?v=-DF7YQrC7HM&feature=related
Robeson interview http://www.youtube.com/watch?v=-DF7YQrC7HM&feature=related
Roderigo's death http://www.youtube.com/watch?v=bnfxPyLzZMY&feature=related
Act 4 http://www.youtube.com/watch?v=wHVnLyP9ZVE&NR=1
Strangle her http://www.youtube.com/watch?v=Rhx7LCBHwLc&feature=related
Emilia at Desdemona's side http://www.youtube.com/watch?v=mLY5ESkKaRI
end: http://www.youtube.com/watch?v=FA5ZXr4Gyk0&feature=related
Thursday, May 26, 2011
Othello
Act 1 scenei-ii http://www.youtube.com/watch?v=44GKZrErSFQ
Act 1 scene iii http://www.youtube.com/watch?v=UeU6jpmiF4I
Orson Wells 1~iii http://www.youtube.com/watch?v=tHJjZ9vENzo
Act 1 scene iii http://www.youtube.com/watch?v=UeU6jpmiF4I
Orson Wells 1~iii http://www.youtube.com/watch?v=tHJjZ9vENzo
Monday, May 16, 2011
Catcher in the Rye: Online
The Catcher in the Rye
a Homework Online study guide
Welcome!
This web site is part of the Literary Department of Homework Online. It has been created to help students and readers of J.D. Salinger's novel The Catcher in the Rye better understand the novel. Included in this site are summaries and explanations, character analysis, discussion of themes, a user's forum where readers can discuss and ask questions, and much more. We even have an online store where you can purchase the novel, notes on the novel, and even the movie adaptation. Please note that the following novel summary and analysis are intended for supplementary use rather than a substitution for personal reading.» Summary
This section contains summaries of the novel. They include the main action of each "chunk".» Explanation:
This section contains explanations of the novel, including character and thematic development.» Character Analysis:
Includes descriptions of all the main characters in the novel. Included are comments on their actions and involvement with theme.» Theme Discussion:
This section attempts to explain the multiple themes of the work.» Symbols and Motifs:
Motifs and symbols used throughout the story are explained here.» Salinger's Writing Style:
Salinger's use of style in The Catcher in the Rye is discussed.» Important Quotes:
These important quotes are key lines from the novel that convey theme.JD Salinger Obituary
J. D. Salinger, Literary Recluse, Dies at 91
J. D. Salinger, who was thought at one time to be the most important American writer to emerge since World War II but who then turned his back on success and adulation, becoming the Garbo of letters, famous for not wanting to be famous, died on Wednesday at his home in Cornish, N.H., where he had lived in seclusion for more than 50 years. He was 91.
Mr. Salinger’s literary reputation rests on a slender but enormously influential body of published work: the novel “The Catcher in the Rye,” the collection “Nine Stories” and two compilations, each with two long stories about the fictional Glass family: “Franny and Zooey” and “Raise High the Roof Beam, Carpenters and Seymour: An Introduction.”
“Catcher” was published in 1951, and its very first sentence, distantly echoing Mark Twain, struck a brash new note in American literature: “If you really want to hear about it, the first thing you’ll probably want to know is where I was born and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth.”
Though not everyone, teachers and librarians especially, was sure what to make of it, “Catcher” became an almost immediate best seller, and its narrator and main character, Holden Caulfield, a teenager newly expelled from prep school, became America’s best-known literary truant since Huckleberry Finn.
With its cynical, slangy vernacular voice (Holden’s two favorite expressions are “phony” and “goddam”), its sympathetic understanding of adolescence and its fierce if alienated sense of morality and distrust of the adult world, the novel struck a nerve in cold war America and quickly attained cult status, especially among the young. Reading “Catcher” used to be an essential rite of passage, almost as important as getting your learner’s permit.
The novel’s allure persists to this day, even if some of Holden’s preoccupations now seem a bit dated, and it continues to sell more than 250,000 copies a year in paperback. Mark David Chapman, who killed John Lennon in 1980, even said the explanation for his act could be found in the pages of “The Catcher in the Rye.” In 1974 Philip Roth wrote, “The response of college students to the work of J. D. Salinger indicates that he, more than anyone else, has not turned his back on the times but, instead, has managed to put his finger on whatever struggle of significance is going on today between self and culture.”
Many critics were more admiring of “Nine Stories,” which came out in 1953 and helped shape writers like Mr. Roth, John Updike and Harold Brodkey. The stories were remarkable for their sharp social observation, their pitch-perfect dialogue (Mr. Salinger, who used italics almost as a form of musical notation, was a master not of literary speech but of speech as people actually spoke it) and the way they demolished whatever was left of the traditional architecture of the short story — the old structure of beginning, middle, end — for an architecture of emotion, in which a story could turn on a tiny alteration of mood or irony. Mr. Updike said he admired “that open-ended Zen quality they have, the way they don’t snap shut.”
Mr. Salinger also perfected the great trick of literary irony — of validating what you mean by saying less than, or even the opposite of, what you intend. Orville Prescott wrote in The New York Times in 1963, “Rarely if ever in literary history has a handful of stories aroused so much discussion, controversy, praise, denunciation, mystification and interpretation.”
As a young man Mr. Salinger yearned ardently for just this kind of attention. He bragged in college about his literary talent and ambitions, and wrote swaggering letters to Whit Burnett, the editor of Story magazine. But success, once it arrived, paled quickly for him. He told the editors of Saturday Review that he was “good and sick” of seeing his photograph on the dust jacket of “The Catcher in the Rye” and demanded that it be removed from subsequent editions. He ordered his agent to burn any fan mail. In 1953 Mr. Salinger, who had been living on East 57th Street in Manhattan, fled the literary world altogether and moved to a 90-acre compound on a wooded hillside in Cornish. He seemed to be fulfilling Holden’s desire to build himself “a little cabin somewhere with the dough I made and live there for the rest of my life,” away from “any goddam stupid conversation with anybody.”
Mr. Salinger’s literary representative, Harold Ober Associates, announced the death, saying it was of natural causes. “Despite having broken his hip in May,” the agency said, “his health had been excellent until a rather sudden decline after the new year. He was not in any pain before or at the time of his death.”
Mr. Salinger’s literary reputation rests on a slender but enormously influential body of published work: the novel “The Catcher in the Rye,” the collection “Nine Stories” and two compilations, each with two long stories about the fictional Glass family: “Franny and Zooey” and “Raise High the Roof Beam, Carpenters and Seymour: An Introduction.”
“Catcher” was published in 1951, and its very first sentence, distantly echoing Mark Twain, struck a brash new note in American literature: “If you really want to hear about it, the first thing you’ll probably want to know is where I was born and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth.”
Though not everyone, teachers and librarians especially, was sure what to make of it, “Catcher” became an almost immediate best seller, and its narrator and main character, Holden Caulfield, a teenager newly expelled from prep school, became America’s best-known literary truant since Huckleberry Finn.
With its cynical, slangy vernacular voice (Holden’s two favorite expressions are “phony” and “goddam”), its sympathetic understanding of adolescence and its fierce if alienated sense of morality and distrust of the adult world, the novel struck a nerve in cold war America and quickly attained cult status, especially among the young. Reading “Catcher” used to be an essential rite of passage, almost as important as getting your learner’s permit.
The novel’s allure persists to this day, even if some of Holden’s preoccupations now seem a bit dated, and it continues to sell more than 250,000 copies a year in paperback. Mark David Chapman, who killed John Lennon in 1980, even said the explanation for his act could be found in the pages of “The Catcher in the Rye.” In 1974 Philip Roth wrote, “The response of college students to the work of J. D. Salinger indicates that he, more than anyone else, has not turned his back on the times but, instead, has managed to put his finger on whatever struggle of significance is going on today between self and culture.”
Many critics were more admiring of “Nine Stories,” which came out in 1953 and helped shape writers like Mr. Roth, John Updike and Harold Brodkey. The stories were remarkable for their sharp social observation, their pitch-perfect dialogue (Mr. Salinger, who used italics almost as a form of musical notation, was a master not of literary speech but of speech as people actually spoke it) and the way they demolished whatever was left of the traditional architecture of the short story — the old structure of beginning, middle, end — for an architecture of emotion, in which a story could turn on a tiny alteration of mood or irony. Mr. Updike said he admired “that open-ended Zen quality they have, the way they don’t snap shut.”
Mr. Salinger also perfected the great trick of literary irony — of validating what you mean by saying less than, or even the opposite of, what you intend. Orville Prescott wrote in The New York Times in 1963, “Rarely if ever in literary history has a handful of stories aroused so much discussion, controversy, praise, denunciation, mystification and interpretation.”
As a young man Mr. Salinger yearned ardently for just this kind of attention. He bragged in college about his literary talent and ambitions, and wrote swaggering letters to Whit Burnett, the editor of Story magazine. But success, once it arrived, paled quickly for him. He told the editors of Saturday Review that he was “good and sick” of seeing his photograph on the dust jacket of “The Catcher in the Rye” and demanded that it be removed from subsequent editions. He ordered his agent to burn any fan mail. In 1953 Mr. Salinger, who had been living on East 57th Street in Manhattan, fled the literary world altogether and moved to a 90-acre compound on a wooded hillside in Cornish. He seemed to be fulfilling Holden’s desire to build himself “a little cabin somewhere with the dough I made and live there for the rest of my life,” away from “any goddam stupid conversation with anybody.”
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